"Platforming" as a Tool for the Transformation of Audiovisual Industries in the Era of Digitalisation: Prospects and Risks

The purpose of the article is to analyse the phenomenon of “platforming” as a tool for transforming the organisational identity of the audiovisual industry and to reveal the prospects and risks associated with it at the present stage. The research methodology is based on the interdisciplinary approach that gives the possibility to understand the phenomenon of “platforming” as a part of modern audiovisual industries, at the intersection of art history, cultural studies, and media economy. Also, the method of theoretical generalisation was used, which allowed the author to formulate possible prospects and risks of the development of streaming platforms in the era of digitalisation, and the activity approach, based on which the use of online platforms is presented as a process of “platforming” audiovisual content, taking into account media convergence. Results. It is argued that the impact of “platforming” on the audiovisual industry and its organisational identity is only increasing, significantly transforming the latter. Under the influence of digitalisation and the “streaming revolution” within the audiovisual field, there has been a transition from a “mono-media industry” to a new “multimedia industry”, where one of the leading roles is played by online platforms (Netflix, MUBI, Festival Scope, Curzon HomeCinema, etc.), their ability to quickly develop and respond to audience demands, providing their consumers with new and interesting content. It is proved that the use of streaming platforms expands the range of traditional forms of information broadcasting, changes the audiovisual content supply chain, overcoming space and time barriers and reaching the global level, as well as the image and parameters of audiovisual art in the 21st century. In addition to the prospects for the use of “platforming”, potential risks are also indicated. The scientific novelty is determined by the disclosure of the specifics of this phenomenon as a tool for the transformation of the audiovisual industry in the era of digitalisation, which has not yet been adequately covered in Ukrainian academic discourse